《牡丹亭》中的澳門書寫

《牡丹亭》中的澳門書寫

程誠 代百生

摘 要：《牡丹亭》作為中國戲曲的代表作，已有眾多學者對其進行過研究，但是在其原著中所提及的“香山墺”這一地標上，仍有探討空間。湯顯祖貶謫途中繞道澳門是一關鍵歷史事件，考述其在澳門的行蹤與見聞，探討這些經歷如何轉化為文學表達，細讀其紀行詩並結合澳門早期中西貿易與宗教傳播的歷史背景，可以還原其創作語境，剖析澳門之行如何深刻影響湯顯祖的思想觀念與創作。湯顯祖在澳門所接觸的中西文化交匯，促使其洞察不同文明背後的共通人性，尤其是對“情”的普遍認同，從而推動其“至情觀”的形成。這一觀念不僅成為其思想核心，也深刻影響了《牡丹亭》的創作邏輯、敘事結構，以及柳夢梅等人物形象的構建。

關鍵字：《牡丹亭》 湯顯祖 澳門 至情觀

Macao in The Peony Pavilion

CHENG Cheng DAI Baisheng

Abstract: Despite extensive research on The Peony Pavilion as a masterpiece of Chinese opera, the landmark Macao mentioned in its original text remains an underexplored area. This article focuses on the pivotal historical event of Tang Xianzu’s detour through Macao during his banishment to the Lingnan region. By reconstructing his itinerary and observations in Macao and examining their literary transformation, this study conducts a close reading of his travel poetry and resituates it within the historical context of early Sino-Western trade and religious propagation in Macao. This approach restores the creative context of his work and analyzes how his Macao journey shaped his ideological outlook profoundly. The article argues that Tang Xianzu’s exposure to the confluence of Chinese and Western cultures in Macao enabled him to perceive the universal humanity underlying different civilizations, particularly a shared recognition of “qing”. This insight helped shape his idea of “ultimate qing”, a central belief that deeply influenced how The Peony Pavilion was written, including its story structure and characters like Liu Mengmei. 

Key words: The Peony Pavilion; Tang Xianzu; Macao; ultimate qing

DOI：10.68079/morwysyj.2026.3.09  【原文下載】【Download PDF】